Ah, those pesky associations: as I walked the curves and alleys of Richard Serra’s the television hypothesis is the belief that television go site lasix nursing teaching https://abt.edu/bestsellers/depakote-and-propecia/22/ https://peacerivergardens.org/proof/example-research-paper-on-parkinsons-disease/25/ https://sdchirogroup.com/savings/levitra-cliffwood-beach/33/ gay marriage in australia essay https://internexus.edu/published/can-i-use-you-in-an-essay/51/ role model research papers antabuse rite aid https://carlgans.org/report/common-app-personal-statement/7/ thesis on parental involvement free research paper on newton einstein and gravity viagra generico acquisto sicuro https://www.elc.edu/school/acetaminophen-essayed-acetaminophen-essayed/53/ thesis statement corrector qualitative research design in thesis https://heystamford.com/writing/custom-research-papers-reviews/8/ source url what do clomid do during pct aciphex versus nexium essay on trees for class 5 enter site spondylolisthesis ppt presentation data analysis template https://hobcawbarony.org/coursework/best-expository-essay-ghostwriting-for-hire-for-phd/27/ viagra 001com https://abt.edu/bestsellers/viagra-can-cause-high-blood-pressure/22/ https://peacerivergardens.org/proof/outliers-chapter-thesis/25/ source link nfwl nra bill of rights essay scholarship contest Junction/Cycle now showing at the Gagosian Gallery, the déjà vu practically bit my butt. Those swerving surfaces reminded me of other Serras, sure, but they also resemble the vistas captured in the film 127 Hours, the biopic about hiker Aron Ralston’s harrowing entrapment in Blue John Canyon near Moab, Utah.
Thankfully no such danger awaits visitors to the Gagosian unless a vicious attack of awe counts. Encountering Serra’s ceiling high steel waves—make no mistake, size accounts as much for this work’s impact as its golden brick patina, as idealized a shade of rust as one will see in this lifetime—gives the viewer an immediate sense of dislocation. Thoughts of Manhattan, the temporal world, evaporate, an effect eerily similar to that wrought by Anish Kapoor’s Memory, seen at the Guggenheim in 2008.
As if ushered by the changing of the leaves, the season of Serra is upon us, what with the Metropolitan Museum of Art’s hosting of his Drawings: A Retrospective. But the sculpture rules, and Junction/Cycle is only on view until November 26. Ditch the nature walk: behold instead some riveting art, wrought by a mere mortal. It’ll stir your soul–and it’s way cheaper than a trip to Utah.
Richard Serra: Junction/Cycle at Gagosian Gallery, 555 West 24th Street, NYC